BIJOU_CONTEMPORAIN

Bienvenue sur mon blog

  • Accueil
  • > Recherche : wood jewellery

05/03/2018

EXPO ‘‎Hidden curriculum’ – during the MJW 2018 – Atelier Cepissakova, Munich (DE) – 8-11 Mars 2018

 

« ‎Hidden curriculum »

Contemporary jewelry exhibition inside   Munich Jewellery Week  (7–10 March 2018)

Popeye loves Olive  Art Space hosts an exhibition platform during Munich Jewellery Week by inviting a group of 14 Greek artists to meet the Mexican artist Jorge Manilla and to develop a joint project on Hidden Curriculum, Identity and Proxemics. 

Opening: Thursday 08/03/18 @19.00 – 22.00

Popeye loves Olive‎ - Hidden curriculum*

Participating Artists:    Jorge Manilla – Aggelika Diplari – Aggelos Konstantakatos – Anna Vlahos – Antria Prasinou – Artemis Valsamaki – Erato Kouloubi – Ioli Livada –  Joanna Grigoriou – Liana Pattihis – Marina Zachou – Niki Stylianou – Xenia Deimezi – Yakinthi Oikonomou – Yiota Vogli

 

 » Hidden Curriculum*
The Hidden curriculum consists of teaching items which are not officially intended and developed by school and educational system. The educational authorities use the concepts of “hidden curriculum” and “invisible curriculum” to explain teachings and attitudes influenced by these implicit factors (Alavi, Abdollahi and Ahmadi, 2008).
With the intention to explore behaviors, perspectives and attitudes, that the participants adopt during their learning process, in an independent way outside of an institution.
For this exhibition we have decided to take the idea of a Hidden Curriculum and explore in a free but very careful way, issues like gender roles, morals, social class, stereotypes, cultural expectations and personal language.
According to the Austrian artist and architect Hundertwasser, we have five layers of skin. From the innermost to the furthest from the centre: Epidermis, Clothes, Houses, Identity and Earth. Each layer (skin) defines and interacts with the whole human entity.
According to Proxemics, we arrange objects and ourselves in relation to space as it makes us feel more or less comfortable. Individuals naturally maintain a separation that relates to environmental and cultural factors but also to social and interpersonal situations. One could say that proxemics is separated in Intimate, Personal, Social and Public Space/Skins. Moreover, all layers of Space/Skins interact, affect and define each other.
Most importantly, it should be underlined; the above studies claim that Identity is created by social interplay.
According to history, Jewelry serves as a primary means of conveying cultural values. Traditionally, jewels were seen as sacred and precious; however, from the beginning of the 20th century, jewelry has started to be objectified. Jewelry as a result of all human social interactions becomes a product of non-verbal communication.
The process, through which a piece of jewelry is created, is totally connected with the cultural and social background of each jewelry artist. From the selection of materials to the final product, it is needed that all different possibilities and perspectives of this act to be explored.
On the other hand, the viewer interacts both with the maker and the wearer of a piece of jewelry; as jewelry narrates stories and communicates feelings and Identities. 
By comparing fourteen Greek jewelry artists’ work in opposition to that of a Mexican artist and educator; this exhibition seeks to collect information on how hidden curriculum, proxemics and identity are expressed through jewelry.
What kind of space occupies the work of each artist? What kind of skin it represents? « 

 

HIDDEN CURRICULUM - Yiota Vogli Dialogue I Νecklace / Ruthenium plated bronze, alpaca, paper pulp, grains, oxidationsYiota Vogli Dialogue I Νecklace / Ruthenium plated bronze, alpaca, paper pulp, grains, oxidations

Yiota Vogli. Brooch: Dialogue, 2017. silver, alpaca, hand painted silver, paper pulp, acrylics, cotton.Yiota Vogli. Brooch: Dialogue, 2017. silver, alpaca, hand painted silver, paper pulp, acrylics, cotton.

Yakinthi Oikonomou Brooch: Veresé, 2017 Argentium silver, bronze, stainless steel. Photo by: Orestis RovakisYakinthi Oikonomou. Brooch: Veresé, 2017. Argentium silver, bronze, stainless steel.. Photo by: Orestis Rovakis.

HIDDEN CURRICULUM - Yakinthi Oikonomou Home sweet home Brooch / Argentium silver, stainless steelYakinthi Oikonomou Home sweet home Brooch / Argentium silver, stainless steel

Xenia Deimezi. Necklace: FEED ME, 2018. Latex, cotton and polyester thread, brilliant cut white diamond.. 70 x 10 cm. Photo by: Aimilia Balaska. From series: into existence.
Xenia Deimezi. Feed-me  Necklace / Latex, cotton & polyester thread, brilliant cut diamond  - Photo by: Aimilia Balaska. From series: into existence

HIDDEN CURRICULUM - Niki Stylianou. - Landscape #3 Necklace / Hand cut and hand stitched leather, thread, copper, pigments, patina
Niki Stylianou.   Landscape #3  - Necklace / Hand cut and hand stitched leather, thread, copper, pigments, patina  

Niki Stylianou Necklace: Mapping: traces made solid, 2017 Copper, bronze, pigments, patina, cord. Photo by: Niki StylianouNiki Stylianou - Necklace: Mapping: traces made solid, 2017 - Copper, bronze, pigments, patina, cord. - Photo by: Niki Stylianou

HIDDEN CURRICULUM - Antria Prasinou Ephemeral Body Neckpiece / Copper, rice paper, ink, silver, pigments, silk thread – avec Antria Prasinou.
Antria Prasinou. - Ephemeral Body - Neckpiece / Copper, rice paper, ink, silver, pigments, silk thread  

Antria Prasinou Brooch: Liberate the Senses, 2017 Copper, rice paper, ink, silver, pigments, silk thread. Photo by: Konstantinos KostopoulosAntria Prasinou - Brooch: Liberate the Senses, 2017 - Copper, rice paper, ink, silver, pigments, silk thread. - Photo by: Konstantinos Kostopoulos

Liana Pattihis Necklace: Shades of Black, 2017 Copper wire, silver chain, enamel. 89 cm Photo by: Liana PattihisLiana Pattihis - Necklace: Shades of Black, 2017 - Copper wire, silver chain, enamel. 89 cm  Photo by: Liana Pattihis

Erato Kouloubi. Brooch: Food Victim 1, 2018. Pasta, acrylics, epoxy, bronze.. 12 x 16 x 5 cm. Photo by: George Economopoulos. From series: Food Victim  Collection.
Erato Kouloubi Food Victim 1 Brooch / Pasta, acrylics, pigments, silver

Erato Kouloubi Brooch: Food Victim, 2018 Pasta, acrylics, pigments, silver. Photo by: Erato KouloubiErato Kouloubi - Brooch: Food Victim, 2018 - Pasta, acrylics, pigments, silver. Photo by: Erato Kouloubi

HIDDEN CURRICULUM - Aggelika Diplari Garden Brooches Wood, argentium silver, pigments, patina – avec Aggelika Diplari.
 Aggelika Diplari. - Garden  Brooches - Wood, argentium silver, pigments, patina 

Ioli Livada Brooch: Untitled, 2017-2018 Bronze, corn leaves, pigments, threads, sterling silver. Photo by: Fanis Logothetis

Ioli Livada  -  Brooch: Untitled, 2017-2018 - Bronze, corn leaves, pigments, threads, sterling silver. Photo by: Fanis Logothetis

Ioli Livada Brooch: Imaginary Flowers 5, 2018 Bronze, corn leaves, pigments, threads, sterling silver.Ioli Livada - Brooch: Imaginary Flowers 5, 2018 - Bronze, corn leaves, pigments, threads, sterling silver.

Joanna Grigoriou Fragments 3 Brooch / Wood, resin, pigments, stainless steel

Joanna Grigoriou Fragments 3 Brooch / Wood, resin, pigments, stainless steel  

Anna Vlahos Meander 1 Brooch / Sterling silver, stainless steel
Anna Vlahos Meander 1 Brooch / Sterling silver, stainless steel

Artemis Valsamaki Brooch: Keep the Faith, 2017 Copper, silver, acrylic paint. Photo by: Alexis KamitsosArtemis Valsamaki - Brooch: Keep the Faith, 2017 - Copper, silver, acrylic paint. - Photo by: Alexis Kamitsos

 

HIDDEN CURRICULUM - Jorge Manilla Insides  Brooch / Wood, cochayuyo, copper steelJorge Manilla - Insides  Brooch / Wood, cochayuyo, copper steel

Jorge Manilla Object: Untitled, 2018 Cochayuyo, rubber. Photo by: Christian TvibergJorge Manilla  Object: Untitled, 2018 - Cochayuyo, rubber. - Photo by: Christian Tviberg

 

 

 
Atelier Cepissakova 
Ligsalzstrasse 29
80339 Munich / München, Deutschland
- Thursday 08.03.18 [10.00 – 17.00]
OPENING: 19.00 – 22.00
- Friday 09.03.18: [10.00 – 18.00]
- Saturday 10.03.18 [10.00 – 13.00]
- Sunday 11.03.18 [11.00 – 16.00]Contact:
Erato Kouloubi
eratokosmima@yahoo.com
+30 6944871569http://www.munichjewelleryweek.com/event/hidden-curriculum/

04/03/2018

EXPO ‘Holy Rock’ – during the Munich Jewellery Week (MJW) – Internationale Handwerksmesse München, Munich (DE) – 7-13 Mars 2018

Holy Rock

 Contemporary jewelry exhibition inside   Munich Jewellery Week   (MJW)  7 – 10 March

ASTONISH 2018 at Internationale Handwerksmesse München, from the 7th to the 13th of march in

Hall B1, Stand-No. 759

ASTONISH is a collective of seven female contemporary jewellery makers sharing a common passion: (gem) stones. For the third consecutive year, they will exhibit their work at Internationale Handwerks Messe(IHM) in Munich, March 2018.

Artist list  :  Sharareh Aghaei – Eva Burton – Gabriela Cohn – Pia Groh – Helen Habtay — Stephie MorawetzJulia Obermaier

Astonish HOLY ROCK - MJW 2018

Child of the elements.
You connect us to the past and our memories. You give us silence and peace. Hypnotized, we gaze at you when exploring your inner worlds. Born from time and the forces of nature you are everlasting and the matter of our making.
Every Rock is holy, indeed. From stones as silent observers, we make valuable experiences, we communicate through our making. Find the seven makers of ASTONISH for the third consecutive year at SCHMUCK, to pay hommage/tribute to ‘THE HOLY ROCK’ in you and me.
So let us celebrate together Gems and Jewels.

 

Astonish HOLY ROCK

*

Julia Obermaier - ASTONISH    Dancing on a wonky table – Necklace – Agate, resin, pigment, fabric, silver – 27 x 9 x 5 cm – 2017 – Julia ObermaierJulia Obermaier -   Dancing on a wonky table – Necklace – Agate, resin, pigment, fabric, silver – 27 x 9 x 5 cm – 2017 – Julia Obermaier

 

ASTONISH - Eva Burton - En el umbral de Xibalba – necklace – Anodized aluminium, syntetic corundum, 14 kt gold – 33.5 x 16 x 2.5 cm – 2017 – Qi WangEva Burton – En el umbral de Xibalba – necklace – Anodized aluminium, syntetic corundum, 14 kt gold – 33.5 x 16 x 2.5 cm – 2017 – Qi Wang

Sharareh Aghaei - ASTONISH - Untitled – Necklace – Titanium Nets, Malachite and lapis lazuli Powder, Cement, Resin epoxy – 40x17x4 cm – 2017 – Nima AshrafiSharareh Aghaei -   Untitled – Necklace – Titanium Nets, Malachite and lapis lazuli Powder, Cement, Resin epoxy – 40x17x4 cm – 2017 – Nima Ashrafi

Stephie Morawetz - ASTONISH - Golden Look – Vagina Mirror – Olive wood, mirror Perspex, Perspex, gold plated brass – 13 x 10 x 1,5 – 2017 – photo rights Shenkar College of Engineering and DesignStephie Morawetz -  Golden Look – Vagina Mirror – Olive wood, mirror Perspex, Perspex, gold plated brass – 13 x 10 x 1,5 – 2017 – photo rights Shenkar College of Engineering and Design

STEPHIE MORAWETZ | astonish - Same Shit – Necklace – Bird shit pearls (from the Shenkar jewelry department), gold plated brass – 2017 – photo rights Stephie MorawetzStephie Morawetz - Same Shit – Necklace – Bird shit pearls (from the Shenkar jewelry department), gold plated brass – 2017 – photo rights Stephie Morawetz

GABRIELA COHN | astonish  - Organic Bowl – Object – Porcelain – 14 x 15 x 12 cm – 2017GABRIELA COHN   - Organic Bowl – Object – Porcelain – 14 x 15 x 12 cm – 2017

Gabriela Cohn Necklace: Bornn, 2016 Porcelain, Silver, Alpaca, Pigments 22 x 14 x 35 Photo by: Qi WangGabriela Cohn Necklace: Bornn, 2016 Porcelain, Silver, Alpaca, Pigments 22 x 14 x 35 Photo by: Qi Wang

Pia Groh Necklace: N 7, 2017 Agate, oxidized silver. 6 x 5 x 23 cmPia Groh – N`7 – Necklace – oxidized Silver, agate – 23 x 6 x 5 cm – 2017 – Photo rights Pia Groh

Helen Habtay - ASTONISH - Map and Territory-No8    Map and Territory, no8 – Necklace – Leather, Tiger Eye, Ribbon, Rubber – 46 x 7,5 x 3 cm – 2017 – Photo rights Qi WangHelen Habtay -  Map and Territory-No8    Map and Territory, no8 – Necklace – Leather, Tiger Eye, Ribbon, Rubber – 46 x 7,5 x 3 cm – 2017 – Photo rights Qi Wang

 

 

 
Internationale Handwerkmesse Munich
Hall B1, Stand-No. 759.
Willy Brandt Allee 1, Messegelände
81829 -  Munich
GERMANY

25/11/2017

EXCHANGE-BIJOU 1 – Isabel TRISTAN exhibitions for FALL at Gal. AUTORIA (PT) & Gal. CONTEXT (ES)

  @ Galeria Autoria  (Porto, Portugal)  till 12th January 2018 :)

Simultaneous openings in the Arts Quarter Miguel Bombarda on Saturday, November 11 @ Galeria Autoria

Participants:  Áurea Praga — Carla Gaspar — Carlos Silva –  Catalina Gibert — Cristina Roque –  Filipe Fonseca — Inês Sobreira — Isabel Tristan — Liliana Guerreiro — Marta Costa Reis — Telma Oliveira — Telma Simões — Teresa Dantas — Valentim Quaresma.

  Saturday, November 11 @ Galeria Autoria  Participants:  Áurea Praga, Carla Gaspar, Carlos Silva, Catalina Gibert, Cristina Roque, Filipe Fonseca, Inês Sobreira, Isabel Tristan, Liliana Guerreiro, Marta Costa Reis, Telma Oliveira, Telma Simões, Teresa Dantas and Valentim Quaresma.

*

Isabel Tristan - Brooch - woodIsabel Tristan - Brooch – wood

Isabel Tristan - Brooch - woodIsabel Tristan - Brooch – wood

Isabel Tristan - wood jewelry at AUTORIAIsabel Tristan – wood jewelry at AUTORIA

Isabel Tristan - wood necklaceIsabel Tristan – wood necklace

Isabel Tristan - wood broochIsabel Tristan – wood brooch -  fusta, alpaca i acrilics 

 

 

Galeria Autoria
Rua Miguel Bombarda, 285, Loja 10, Porto
Porto
tel +351 915 423 030
galeria.autoria@gmail.com
AUTORIA is represented by two jewellery artists Inês Sobreira and Cristina Roque dos Santos.

***
*

AND

« Restoration Vs Reconstruction »

work in progress ……

Next collective exhibition in Context Galeria this month : « A la de tres »

Inauguración 25 de novembre a las 12,30.

25 NOV. – 30 DEC. 2017

  exhibition  @context__gallery. Opening the next 25  November at 12,30h.

«  Isabel Tristán : Mirar, observar, desmuntar mentalment, entendre i descobrir el procés de creació dels objectes, els materials que els componen i la passió per aprendre m’ha permès créixer. »

Isabel Tristan - Restoration Vs Reconstruction - Work in progress.  #broochIsabel Tristan – Restoration Vs Reconstruction – Work in progress.  #brooch

Isabel Tristan - Restoration Vs Reconstruction - Work in progress.  #broochIsabel Tristan - « Restoration Vs Reconstruction » Work in progress -  BROCHE « CAMINS PERDUTS » - maderas, arena, pintura acrílica, acero - Serie Reconstrucción

« Reconstrucción Vs Restauración
Después del todo, de lo que ya no está, de lo que no va a volver, miles de restos se amontonan a nuestro alrededor almacenados a modo de orden caótico. Ponerse en acción es pertinente, una acción devastadora, contundente o quizás una acción más suave, planificada y ordenada.
Nacer o renacer, nuevo o seminuevo, fénix o crisálida, reconstrucción versus restauración.
Todo es posible, bien mirado, todo acto de creación siempre sobreviene como algo nuevo, a pesar que el punto de partida sea el caos
Materiales:
Las piezas de Reconstrucción están creadas a partir de maderas recicladas, restos de maderas descartadas o recortes de anteriores trabajos, con el mínimo de manipulación formal solo incidiendo en el acabado para dar una nueva textura y color.
Para la serie Restauración el proceso es similar, pero incluye toda una serie de partes creadas para reforzar la idea de estructura o cimientos, por ello su acabado no incluye texturas o rebozados adicionales, la idea es eliminar o limpiar todo aquello que el paso el tiempo añade o deteriora y por lo tanto solo se muestra la esencia de los elementos.
« 

Isabel Tristan - "Restoration Vs Reconstruction" Work in progress -  BROCHE - maderas, arena, pintura acrílica, acero - Serie ReconstrucciónIsabel Tristan – « Restoration Vs Reconstruction » Work in progress -  BROCHE – maderas, arena, pintura acrílica, acero – Serie Reconstrucción

Isabel Tristan - "Restoration Vs Reconstruction" Work in progress -  BROCHE - maderas, arena, pintura acrílica, acero - Serie ReconstrucciónIsabel Tristan - « Restoration Vs Reconstruction » Work in progress -  BROCHE – maderas, arena, pintura acrílica, acero – Serie Reconstrucción

Isabel Tristan - "Restoration Vs Reconstruction" Work in progress - collar  - maderas, arena, pintura acrílica, acero -  Isabel Tristan – « Restoration Vs Reconstruction » Work in progress – collar  – maderas, arena, pintura acrílica   

Isabel Tristan - "Restoration Vs Reconstruction" Work in progress -  maderas, arena, pintura acrílica   Isabel Tristan – « Restoration Vs Reconstruction » Work in progress -   maderas, arena, pintura acrílica

 

 

Context Galeria 
Calle de Viñolas 8-10
08173 Sant Cugat del Vallès (BARCELONA – ES)
+34 935 89 38 06
www.context.cat
galeria@context.cat

18/11/2017

EXCHANGE-BIJOU 1 – Viktoria MUNZKER – at 2017 Beijing International Jewelry Art Exhibition – 18-27 Nov. 2017

Viktoria Munzker

2017 Beijing International Jewelry Art Exhibition / Nov. 18-27 2017 / @ BIFTPARK (Beijing Institute of Fashion Technology Park)

 2017 Beijing International Jewelry Art Exhibition / Nov. 18-27 2017 / @ BIFTPARK (Beijing Institute of Fashion Technology Park) -

2017 Beijing International Jewelry Art Exhibition is  to be held on November 18-26 in Beijing.
Themed on « Union & Concurrence », under the meaning of « combination »and « run in parallel », which is mutually exclusive, this exhibition embodies China’s national policies of Global View, the Belt and Road, and Win-Win Cooperation, and also represents that the Eastern and Western cultural ecologies respect each other, interact with each other, complement each other and help each other forward in terms of contemporary jewelry art under the multi-cultural context.

The exhibition aims to promote diverse jewelry art creation, exploring the latest concepts of international jewelry art as well as the fashion and development trend of international jewellery business. With concept innovation and academic guidance as its focus, it builds an interactive platform and space for different artistic creation ideas and thoughts. During the exhibition, an international jewelry art academic innovation forum, an international jewelry design education forum, along with an international jewelry fashion trend forum will be held.

 Viktoria Münzker Ferus Brooch: Heliopora Coerulea, 2016 Driftwood, silver, granules, synthetic topas

Viktoria Münzker - Brooch: Heliopora Coerulea, 2016 - Driftwood, silver, granules, synthetic topaz

 Viktoria Münzker Ferus - Necklace: Cupido Minimus, 2016 Operculum, brass, glas crystal, granules 10 x 7 x 2.5 cm Photo by: Viktoria Münzker Ferus

 Viktoria Münzker Ferus – Necklace: Cupido Minimus, 2016 Operculum, brass, glas crystal, granules 10 x 7 x 2.5 cm Photo by: Viktoria Münzker Ferus 

Viktoria Munzker - Brooch: Aeria Memoria, 2016 Operculum, driftwood, antique nail, bronze, silver, granules 11 x 5 x 3.5 cm Photo by: Viktoria Münzker Ferus

Viktoria Munzker - Brooch: Aeria Memoria, 2016 Operculum, driftwood, antique nail, bronze, silver, granules 11 x 5 x 3.5 cm Photo by: Viktoria Münzker Ferus

 

 

 

Beijing Institute of fashion Technology,
Beijing Shi, Chaoyang Qu
100029 -  Beijing 
CHINA
jewelryart@futuredesign.cn
http://futuredesign.cn/

30/10/2017

EXPO «Materio-Talk» – Paris Parcours Bijoux 2017 – Les Ateliers de Paris – 9 Nov.-9 Dec. 2017

Materio-Talk commence le 9 novembre aux  Ateliers de Paris ! Explorez les connections et les dialogues engendrés par la création dans le cadre du Parcours Bijoux : http://bit.ly/2hnUXJf

Les Ateliers de Paris présentent «Materio Talk», exposition imaginée par le créateur et commissaire de cette exposition : Sébastien Carré.

Parcours Bijoux 2017

Inauguration jeudi 9 Novembre, à partir de 18h30

Materio-Talk - Aux Ateliers de Paris - inauguration 9 novembre 2017 soir

 

Quelles histoires résident dans l’esprit de l’artiste lorsqu’il crée ? D’où vient ce choix de matières ou l’utilisation de certaines techniques pour transmettre une idée ? C’est à ces questions que tente de répondre cette exposition par la mise en valeur des mythologies personnelles de huit artistes dans le but de s’exprimer par le biais d’une œuvre d’art à porter ou arborer.
Ce sont ces histoires intérieures que nous essayerons de mettre en valeur, quatre groupes ont donc été constitués par des liens établis par l’intermédiaire de choix de techniques, de matières, de vocabulaire formel ou conceptuel afin de mettre en lien de jeunes artistes issus d’écoles françaises abordant le bijou d’art face à un artiste étranger de renommée internationale.
Quatre thématiques seront donc abordées par chaque artiste mais il faudra également que chacun réalise une Œuvre en employant la matière de l’autre artiste de l’équipe afin de mettre en valeur l’idée derrière l’œuvre et celle qui anime la main.
Textes de l’ exposition par / Texts of the exhibition by : Nichka Marobin – Blo(g)azette – The Morning Bark
Autour de diverses thématiques, quatre équipes ont été constituées pour créer des passerelles entre les pratiques de jeunes artistes français et de grands noms internationaux du bijou d’art afin de mettre en valeur le caractère universel du bijou comme objet d’expression pour l’artiste et de communication pour son porteur.
 
« Les artistes, appelés à créer une pièce pour chaque thème, ont également été appelés à créer deux bijoux sur leur propre sujet spécifique, l’un utilisant le matériel que l’autre artiste aurait utilisé ; l’autre doit contenir un mot supplémentaire, celui que l’autre personne de l’équipe aura utilisé pour décrire le travail de son coéquipier. En ce sens, le dialogue entre les artistes se manifeste par le discours des matières et évolue sous notre regard.
L’un des aspects les plus fascinants de l’exposition Materio Talk a été le fait que chaque artiste ait dû choisir un mot spécifique pour décrire le travail de son propre coéquipier. D’un même lemme, tous les artistes engagés dans ce projet ont développé leurs propres langages formels en constante réciprocité avec leur propre collègue, donnant vie à un dialogue tangible, mais particulier, sur les formes, les idées et les bijoux, capable de transmettre de grands sujets dans une petite taille. »
*
Beautés Primitives / Primal Beauty
« On ne peut comprendre son propre présent sans le passé car le passé fait partie de nous-mêmes et nous devons l’embrasser.
Le passé, et plus précisément le temps préhistorique, est le principal domaine d’étude de l’artiste grec Akis Goumas et de la française Marion Fillancq. Pour les deux, cette quête archéologique est, avant tout, une quête pour eux-mêmes.
Les fragments de la mer Egée permettent à Akis de construire son langage formel, tandis que les anciennes techniques du verre sont le point de départ de l’investigation de Marion: ils concentrent leurs travaux sur une mémoire reconstruite capable d’englober notre contemporanéité et qui posent toujours des considérations ouvertes sur la nature intérieure de l’homme. »
Nichka Marobin
Akis Goumas - "Inner" - photo by V.XeniasAkis Goumas -  Pendant: Inner, 2017 – Hammered bronze, casted sheets, steel, obsidian, pigments – Photo by: V. Xenias
« Je suis impliqué depuis plus d’une décennie dans l’étude des découvertes préhistoriques de la région égéenne et cela a affecté mon rapport au bijou. Mon processus créatif se développe comme une fouille conceptuelle en mon for intérieur et met en évidence des émotions, les impressions de souvenirs personnels ou collectifs, ou bien même des évènements obscurs du passé.
Dans un certain sens, ce processus ressemble à une excavation archéologique dans laquelle chaque couche a les caractéristiques d’une certaine période.« 
www.akisgoumasgallery.com – Akis Goumas Marion Fillancq, pensée taille - Nucléus & marionites -  photo F. GolfierMarion Fillancq, pensée taille – Nucléus & marionites -  photo F. Golfier
« Alors que l’Homme de la préhistoire taillait la pierre pour ses besoins. Il semble que nous taillons encore aujourd’hui, pour nos désirs. Ce postulat constitue la base du travail de Marion Fillancq et met en évidence des idées, concepts, ou esthétiques contraires. Ironisant souvent sur l’idée du luxe, c’est aussi certains statuts du bijou lui-même qui sont bousculés, créant une dualité contre laquelle Marion Fillancq elle-même, a du mal à lutter.«  
www.marionfillancq.comMarion Fillancq
*
Symétrie organique / Organic Symetry
« Le groupe d’oeuvres de l’artiste estonien Tanel Veenre et le français Sébastien Carré est regroupé sous le thème «Symétrie organique»: le premier s’inspire de la sexualité et explore comment, à partir de la symétrie humaine de l’appareil reproducteur, de nouvelles formes peuvent être réalisées dans une pureté de lignes capables de devenir autre chose et dépasser la mimesis de la réalité.
Les éléments organiques employés par Sébastien Carré lui permettent de créer de nouveaux mondes; des minéraux et de la végétation aux pellicules de film, tout peut être mélangé et rassemblé afin de créer un nouveau langage plastique. Les éléments assemblés sont soigneusement étudiés, choisis et ils témoignent de la nécessité pour l’artiste français d’étudier ce lien intérieur entre tous les êtres humains et les autres espèces.« 
Nichka Marobin
Sébastien Carré - Necklace: Cultural Balance, 2017 Sharkskin, Pearls, beads, filmstrip, cotton, silk and nylon thread - at "MATERIO  TALK" exhibitionSébastien Carré - Necklace: Cultural Balance, 2017 Sharkskin, Pearls, beads, filmstrip, cotton, silk and nylon thread – photo Milo Lee
« Végétal, animal et minéral sont combinés dans ces bijoux aux formes de paysages. Mélanger ces matières interactives me permet de réveiller un corps qui tend à être plus insensible en raison d’une société surconnectée. Célébrer la diversité nous fera grandir. Dans l’histoire du vivant, si les cellules n’avaient pas coopéré au lieu d’essayer de se détruire, la vie n’aurait jamais produit l’homme. Chérissons la diversité, être ensemble est déjà un trésor. »
www.sebastiencarre.com
Sébastien Carré

Tanel Veenre - Brooch: Crown of the Nature, 2017 Wood, reconstructed coral, silver, cosmic dust - Photo by: Tanel VeenreTanel Veenre – Brooch: Crown of the Nature, 2017 Wood, reconstructed coral, silver, cosmic dust – Photo by: Tanel Veenre
 » Je suis intéressé d’aller au-delà de la raison, de trouver le noyau de l’humain sous cette épaisse couche de culture. Les expériences extatiques sont comme des portes ouvertes vers le côté animal de l’Homme. Pour mon travail, j’ai basé mes recherches tout autant sur l’extase religieuse que sexuelle pour transcrire cette sensation de se perdre dans le plaisir. Je poursuis donc certaines idées du Baroque pour qui l’art se doit de produire une réponse émotionnelle du spectateur. Mes oeuvres sont donc une allégorie, qui vise à retranscrire ce pouvoir de la sensualité pour arriver à l’accomplissement de cette Utopie du plaisir. »
www.tanelveenre.com
Tanel Veenre
*
Cultures Modulaires / Modular Culture
Peter Hoogeboom (Nl) / Yiumsiri Kaï Vantanapindu
« La méditation contemporaine sur l’utilisation de l’argile et de la porcelaine est le principal trait d’union entre l’artiste néerlandais Peter Hoogeboom et l’artiste thaï-française Yiumsiri Vantanapindu pour le thème «Cultures Modulaires».
La recherche de Peter Hoogeboom commence par l’étude des éléments individuels en argile de l’histoire ancienne qui sont après transformés en petits morceaux numériques. Les pièces souples et élégantes rappellent cette vocation pour l’Antiquité et la culture passée qui émerge clairement de ses oeuvres. Ainsi, la mémoire collective et historique qui réside dans l’étude constante des techniques d’argile et de porcelaine d’Europe et d’Asie fournit des résultats inattendus. Une culture métissée et le concept d’hybridation offrent à Yiumsiri Vantanapindu un domaine d’étude et de création témoignant l’importance et la richesse des langues qu’une civilisation «sans frontières» pourrait offrir. Née en Thaïlande et vivant maintenant en France, la recherche de Yiumsiri se concentre sur le dialogue constant sur le passé et le présent, sur la mémoire collective et la contemporanéité en mélangeant les cultures. Ses pièces d’argile, de basalte, de porcelaine et de métaux sont une méditation sur son propre héritage avec une vue contemporaine. »
Nichka Marobin
at MATERIO TALK - Peter Hoogeboom - photo Peter HoogeboomPeter Hoogeboom - Necklace: Sacrifice, 2017 – Porcelain, silver, rubber, nylon. – 24 x 21 x 3.5 cm – Photo by: Peter Hoogeboom – From series: Broken
« Depuis 1995, j’applique de la céramique dans mes bijoux, un matériau qui dans son emploi contemporain est principalement utilisé pour fabriquer de la vaisselle. Parce que la fonction utilitaire de la céramique a été fortement liée à l’homme depuis le début de la préhistoire, je me réfère à cela en fabriquant de petits éléments en forme de jarre, de coupe ou de pot. On peut également faire référence à l’argile / terre en tant que nourriture pour les cultures dont nous nous nourrissons ainsi que notre bétail. »
www.peterhoogeboom.nl
Peter Hoogeboom
at MATERIO TALK - Yiumsiri Vantanapindu Bracelet: Black-Kam-Laï, 2017 Black porcelain and metalYiumsiri Vantanapindu Bracelet: Black-Kam-Laï, 2017 Black porcelain and metal
« Une frontière est un endroit composé de couches différentes, d’une ligne imaginaire à un endroit particulier, séparant ou regroupant deux territoires. Mon travail tourne autour du thème: «Sans Frontières». Par cela je souhaite exprimer que pour envisager un travail entre deux cultures, je dois ancrer ma réflexion par rapport aux diverses philosophies des lieux dans lesquels je crée tout autant que les différentes identités qui font l’individu que je suis. Par conséquent, l’art contemporain comme je l’appréhende se doit de souligner la diversité d’une manière intelligible. »
www.yiumsirivantanapindu.carbonmade.com
Yiumsiri Vantanapindu
*
Merveilles naturelles / Natural Wonder
« En observant les pièces de la suédoise Märta Mattsson et de la française Marie Masson, on est fasciné par le sens de la “circularité” qui s’exprime par le biais des éléments naturels utilisés par les deux artistes. Le sens de cette «renaissance» (mot utilisé par Märta Mattsson pour présenter son travail) ressort clairement des travaux de ces deux artistes fascinées par la nature. Dans le cas spécifique de Märta, les insectes sont ramenés à une vie éclatante qui nous charme grâce à un nouveau sentiment d’émerveillement. Pour Marie, les éléments naturels tels que la peau, les cheveux, le crin et les fourrures sont assemblés afin de recréer de nouvelles pièces qui re-méditent le corps lui-même. Dans ce sens, en regardant ces travaux, on peut penser au symbole antique et mythologique d’Ouroboros (du grec ancien οuροβoros), le serpent ou le dragon mangeant sa propre queue, représentant la renaissance éternelle.« 
Nichka Marobin
at LATERIO TALK - Märta Mattsson Brooch: Insectomania, 2017 Cicada wings, wood, glass, resin, lacquer, cubic zirconia, pigment, silver Photo by: Märta MattssonMärta Mattsson Brooch: Insectomania, 2017 Cicada wings, wood, glass, resin, lacquer, cubic zirconia, pigment, silver Photo by: Märta Mattsson
« Je trouve parfois de la beauté dans les choses que certains trouvent étranges ou repoussantes. Je suis fascinée quand il y a quelque chose que vous ne voulez pas voir et le sentiment provoqué par cette envie de ne pas regarder, bien qu’au final on finisse toujours par regarder. Mes bijoux jouent de cette tension entre attraction et répulsion. J’emploie des matières qui semblent inappropriées au premier abord, rendant l’ordinaire et les objets familiers extraordinaires et inconnus. »
www.martamattsson.com
Märta Mattsson

Marie Masson © Marie Masson - Cocarde - 2017 – Broche Cuir, plumes de faisan, Hématite, zincMarie Masson © Marie Masson – Cocarde – 2017 – Broche Cuir, plumes de faisan, Hématite, zinc
« Le travail de Marie Masson se situe entre le bijou contemporain, les arts décoratifs, la sculpture, la mode et l’objet de curiosité. Cheveux, crins, poils et peaux, racontent la mise à nu du corps. Sur mesure, elle assemble, détourne, et met en évidence des attributs naturels de l’homme et de l’animal. Elle les considère en tant que premières parures visibles et propose des objets singuliers, restituant une intimité artificielle. »
www.marie-masson.com
Marie Masson
 
 
As an art, jewellery creations are, at the same time, products of an established historical moment and pieces which carry with themselves layers of memory, universal messages of beauty and, above all, languages able to survive during the years. They are yet ephemeral because they can be broken, dismantled, fused and recomposed following the desires and circumstances of contingency and need.
More than traditional jewellery, contemporary jewellery offers a multiplicity of panoramas and languages. The use of different materials and the subversion of the hierarchy of what might be considered precious changed all perspectives. It is an evidence nowadays: studio jewellery is made also of non-precious metals and non-precious stones. From iron to plastics, from paper to wood, from fibers to insects each material can be worked, re-built and assembled in order to become a jewel, varying the traditional concepts of value and preciousness.
As different cartographies, contemporary jewels map and evoke new worlds and histories; they offer new languages and confront the viewer and the wearer to new perspectives and new interpretations.
Under the common vault of contemporary jewellery, materials surface as a formal language, the one that identifies an artist. Nevertheless, each Artist is always his/her own work: in each piece life blooms, emerges and marks a moment; the formal language reveals itself through the use of a specific material.
As a language, it evolves over the years and it finds similarities among the great variety of contemporary jewellery world creating unexpected connections and links.
The exhibition MATERIO-TALK, organized by the French Artist Sébastien Carré, focuses on the use of a specific material as a form of language and all the possible connections with other artists who are using the same material.
The themes proposed in this exhibition gather four French contemporary jewellers to four International contemporary jewellers, in order to investigate how the use of a common and specific material as a formal language can be achieved from two different sides, exploring the artistic process and all the connections between the artists.
The artists, called to create a piece for each theme, were called also to create two jewels on their own specific subject, one using the material that the other artist will have used. In addition to this, the second piece had to contain an additional word, the one that the other person in the team will have used to describe the work of his teammate. In this sense, the talk of material becomes a tangible conversation and dialogues are in front of our eyes.
One of a fascinatingaspect of the exhibition Materio-Talk has been the fact each artist had to choose a specific word in order to describe the work of his/her own teammate. From one single lemma all the Artists involved in this project developed their own languages in constant reciprocity with their own fellow member, giving life to a tangible, yet peculiar dialogue on forms, ideas, and jewels, able to convey great subjects in a small size.
As an invited collaborator of this group, I here add my own word able to embrace the whole production of Materio-Talk: transformation. / Nichka Marobin

 

Les Ateliers de Paris
30 rue du Faubourg Saint-Antoine
75012 Paris
(M° Bastille)
Tél. : 01 44 73 83 50
http://www.ateliersdeparis.com

02/10/2017

EXCHANGE-BIJOU 2 – Carlos SILVA – « SMACK » (Offjoya 2017 – Ingallerybcn, Barcelona – 4–20 Oct. 2017) / « PINàPARIS » (Parcours Bijoux 23 sept.-8 Oct. 2017)

Carlos SILVA

participa en la muestra SMACK / Offjoya 2017  at Ingallerybcn

Opening: 4 October 19:30 – 22:00

SMACK / Offjoya 2017  at Ingallerybcn

«  SMACK brings us together as a group in many ways. Not only with the first letters of our names but also a common idea to describe an activity, a sound for hitting the right thing. The words diversity– connection to yummy food, big heart-breaking kisses, drugs and punishment – is intriguing. In our case, we use it for things that are necessary ingredients for our work, as interesting ideas, unexpected materials, supportive colleagues, energy giving snacks, excellent tools, the right equipment and much more. »
For the exhibition SMACK at INGallery in Barcelona,
we, Sofia Björkman, Matt Lambert, Agnieszka Knap, Carlos Silva and Karin Roy Andersson, come together and show art jewellery with SMACK feeling!
Welcome!

«  A sneak peek of the new pieces EXCHANGE-BIJOU 2 – Carlos SILVA – :)
I will be showing a new body of work, exploring shape and volume on total black charcoal pieces« SMACK   4 October 19:30 4 October - 20 October  Carlos Silva_pt   Carlos Silva jewel

Carlos Silva Jewelry   août ·2017   New exhibition coming soon, stay tunned :) . carlossilva carlossilvajewelry  charcoalart  ewelryCarlos Silva - new body of work, exploring shape and volume on total black charcoal pieces Carlos Silva - new body of work, exploring shape and volume on total black charcoal pieces aout 2017Carlos Silva - new body of work, exploring shape and volume on total black charcoal pieces

Carlos Silva - new body of work, exploring shape and volume on total black charcoal piecesCarlos Silva – new body of work, exploring shape and volume on total black charcoal pieces

Carlos Silva - MADEIRA - WOOD - Brooch  Carvão, espuma, cobre, aço e tinta Charcoal, foam, copper, steel and paintCarlos Silva - MADEIRA | WOOD.  -  Pregadeira | Brooch  Carvão, espuma, cobre, aço e tinta Charcoal, foam, copper, steel and paint

Carlos Silva Jewelry - Necklace Charcoal, foam, copper, paint and silicone thread 14,5 x 7 x 2,5 mm – à Ingallerybcn.Carlos Silva Jewelry  ·  Necklace – Charcoal, foam, copper, paint and silicone thread – 14,5 x 7 x 2,5 mm – à Ingallerybcn.

Carlos Silva -  Brooch (Back) Charcoal, foam and painted copper  12 x 7,5 x 2,5 mm – à Ingallerybcn.Carlos Silva Jewelry  ·  Brooch (Back) – Charcoal, foam and painted copper   - 12 x 7,5 x 2,5 mm – à Ingallerybcn.

 

Ingallerybcnpenedes 3
08012 Barcelona
ingallerybcn@gmail.com

http://www.ingallerybcn.com

+34 932 37 96 94
Opening hours during JOYA: Thursday – Sunday 11:00-14:00, 17:00-20:30
Opening hours from after JOYA: Tuesday – Saturday: 11:00-14:00 and 17:00-20:30

 

AND ……

 Parcours Bijoux paris 2017PINàPARIS parcours Bijoux 2017PINàPARIS parcours Bijoux 2017

PINAPARIS. BIJOUX CONTEMPORAINS
INAUGURAÇÃO / VERNISSAGE samedi 23 septembre à 18:00 – 21:00 
Comissária / Commissaire:  Monika BRUGGER

Artistas respresentados / Artistes représentés:
Ana ALBUQUERQUE — Frederica BASTIDE DUARTE  — Carolina BRANCO  [EAAA] — Ana CAMPOS  — Márcia CIRNE  –  Marta COSTA REIS  [Ar.Co] — Teresa DANTAS  — Catarina DIAS  / Inês NUNES — Tomaz DINÍSIO  [EAAA] — Inês ESTEVES  –  Beatriz FAUSTINO  — Dulce FERRAZ  — Cristina FILIPE  — FILOMENO — Manuel JÚLIO — Teresa MILHEIRO  — Marília Maria MIRA  — Miriam MIRNA KORLOKOVAS  — Typhaine Le MONNIER  — Olga NORONHA  — Inês NUNES  –  Maria José OLIVEIRA  — Filomena PRAÇA  — Áurea PRAGA  — João RAMOS [EAAA] — Tereza SEABRA  –  Carlos SILVA  — Catarina SILVA  –  Diana SILVA  — Tânia SIMÃO XAVIER  [Ar.Co] –  Inês SOBREIRA –  Manuela SOUSA

EAAA – Escola Artistica António Arroio
Ar.Co – Centro de Arte e Comunicação Visual

A exposição PINAPARIS decorre no âmbito da SEMAINE DES CULTURES ÉTRANGÈRES e do PARCOURS BIJOUX, em PARIS e reúne obras de trinta e três artistas de três gerações e quatro nacionalidades (portuguesa, brasileira, colombiana e francesa) com distintas afinidades a Portugal e com o denominador comum de serem ou terem sido membros da PIN.
Os trabalhos presentes ora seguem o repto lançado pela comissária Monika Brugger e tiveram presente « Paris », como tema, ora são peças chave, no percurso dos artistas presentes, realizadas ao longo das últimas três décadas.

PIN fête aujourd'hui [9.9.2017] 13 ans et publie en 1ère main cette photo de Guillaume Pazat qui dépeint la directrice de la maison du Portugal à Paris - André de Gouveia - avec un collier de Carlos Silva, pré-annonçant la prochaine exposition de PIN "Bijoux contemporains" PIN fête aujourd’hui [9.9.2017] 13 ans et publie en 1ère main cette photo de Guillaume Pazat qui dépeint la directrice de la maison du Portugal à Paris – André de Gouveia – avec un collier de Carlos Silva, pré-annonçant la prochaine exposition de PIN « Bijoux contemporains »

Carlos Silva - photo de Guillaume Pazat qui dépeint la directrice de la maison du Portugal à Paris - André de Gouveia - avec un collier de Carlos Silva, pré-annonçant la prochaine exposition de PIN "Bijoux contemporains"photo de Guillaume Pazat (détail) qui dépeint la directrice de la maison du Portugal à Paris – André de Gouveia – avec un collier de Carlos Silva

Carlos Silva - collier  PINàPARIS 2017Carlos Silva - collier  PINàPARIS 2017 – necklace

 Carlos Silva - PINàPARISCarlos Silva at PINàPARIS –  bracelet – olive tree wood, silver leaf – 2014

Carlos Silva at PINàPARISCarlos Silva at PINàPARIS – necklace

 

 

 

 

 

MAISON PORTUGAL – ANDRÉ DE GOUVEIA
7P BOULEVARD JOURDAN
75014 PARIS
METRO | RER B : CITÉ UNIVERSITAIRE
TEL: 01 40 79 02 40
2a feira / Lundi – 5a feira /Jeudi > 11h – 19h
6a feira / Vendredi – Sábado/ Samedi > 11h – 20h
Domingo / Dimanche > 13h – 20h
VISITA GUIADA / VISITE GUIDÉE + MONIKA BRUGGER
7.10.2017 | 14h

27/09/2017

It’s time for JOYA 2017 !! Barcelona (SP) – 5-6-7 Oct 2017

JOYA 2017  is coming !!   5-6-7 Oct 2017

 JOYA_2017 - 5-6-7 Oct 2017

Even if, this year? I don’t come to JOYA ! :-(   because of Paris Parcours Bijoux …… SORRY !BUT I have to talk about « my » very dear GREEK jewellers, very present !

When you go to the « showroom page » it begins DIRECTLY with « my Greeks » ! :-) ….. alphabetical order ….. So HERE WE GO !!!!!!!!!!!!

 

AGAPI SMPOKOU

Agapi Simpokou - Necklace - Porcelain.  "Vanity" - http://www.joyabarcelona.com/images/2017/ AGAPI SMPOKOU – Necklace – Porcelain.  « Vanity »
« What is jewellery? A customer chooses a diamond according to its value. Diamonds have value because of their durability, clarity and strength. These qualities imply the human need to overcome the fear of death. I question the durability and value of diamonds by working with them in porcelain, presented in a 3D and linear form in my work. »

 

 AGGELIKA DIPILARI

Aggelika Diplari -Necklace: Wood, silver, stainless steel, acrylic pigments  http://www.joyabarcelona.com/images/2017/AGGELIKA DIPILARI – Necklace: Wood, silver, stainless steel, acrylic pigments.
« I select driftwood. I study its organic materiality and diachronic multifaceted narratives. I need to continue their complex stories, by reviving history through my alterations and illustrations. I simulate life in its absence, cancelling the warped weight of time by crystallising the wood’s surface. Reflecting my feelings of the present, I find and imagine—portray—the unknown effects on the experiences of tomorrow. »

ANTRIA PRASINOU ANTRIA PRASINOU Brooch - Paper, cotton, silver.  "Burning the knowledge"  http://www.joyabarcelona.com/images/2017/Antria_Prasinou.jpgANTRIA PRASINOU Brooch – Paper, cotton, silver.  « Burning the knowledge »
« This collection is based on a metaphor; the destruction of knowledge that transports us through the memory of the past…to today. This « unstable » balance is expressed through the fragility of the material. I use paper to capture and then illustrate the shadows that attempt, through their movement, to outline the essence of true identity. »

ARTEMIS VALSAMAKI
Artemis Valsamaki - Brooch - Copper, silver, acrylic paint. - http://www.joyabarcelona.com/images/2017/Artemis_Valsamaki.jpgARTEMIS VALSAMAKI – Brooch – Copper, silver, acrylic paint.
« For me, jewellery is a medium for manifesting my thoughts and concerns as well as expressing my feelings. I draw my inspiration from human relationships, dreams, Greek mythology, reality and fantasy and whatever hides an emotional power. My intention is always to create a wearable visual, narrative story. »

IOLI LIVADA
(CYPRUS, 1968) (ok, ok, it’s NOT Greece …. but …. hem …. very near ? ;-) …)

IOLI LIVADA - Brooch - Aubergine peel, corn leaf, silver, steel.  "Imaginary flowers" http://www.joyabarcelona.com/images/2017/Ioli_Livada.jpgIOLI LIVADA – Brooch – Aubergine peel, corn leaf, silver, steel.  « Imaginary flowers »
« Inspired by a delicate flower, my work is based on the frailty of things. I try working with materiality, using mostly natural materials such as aubergine peel and corn leaves, and trying to explore their limitations without losing the feeling of a fragile piece. That is how I create flowers that take shape in the landscapes of my dream world. Can an aubergine be transformed into a piece of jewellery? »

NIKI STYLIANOU NIKI STYLIANOU (GREECE, 1968)  Necklace - Copper, bronze, pigments, patinas.  "Mapping: traces made solid" http://www.joyabarcelona.com/images/2017/Niki_Stylianou.jpgNIKI STYLIANOU - Necklace – Copper, bronze, pigments, patinas« Mapping: traces made solid »
« Inside Out, Outside In, Upside Down, Piercing Through, Collapsing into a Trace.
Fugitive, elusive ideas on growth, space, absence and memory that attempt to manifest themselves into physical objects. »

STEFANIA SIOUFA
STEFANIA SIOUFA - Brooch - Silver, pigments, cement, brass sheets, resin, sand, plaster, mixed media. "Transform http://www.joyabarcelona.com/images/2017/Stefania_Sioufa.jpgSTEFANIA SIOUFA – Brooch – Silver, pigments, cement, brass sheets, resin, sand, plaster, mixed media. « Transformation »
«  »Transformation » means the inner change, the work I do with myself and my soul. It is the best version of me, coming from the « dialogue with myself ». Through silence, meditation and observation of my thoughts comes understanding and my need for change and internal transformation. It means the transition from negative to positive, my self-improvement, the change of course, the opening of new roads. »

 

 YIOTA VOGLI

 YIOTA VOGLI (GREECE, 1958)  Pendant - Paper, wood, acrylic, varnishes, silver, alpaca, copper, brass, steel.  "Shadow" http://www.joyabarcelona.com/images/2017/Yiota_Vogli.jpg YIOTA VOGLI – Pendant – Paper, wood, acrylic, varnishes, silver, alpaca, copper, brass, steel.  « Shadow »
« Shadow is a psychological term for everything we cannot see in ourselves. From an early age we adjust our behaviour to gratify our needs and learn to adapt to the external world. As we grow, we condition ourselves to keep all the unaccepted parts of us outside our conscious awareness, even though we drag them ‘behind us’ all the time in our subconscious. »

 

AND the GUEST ARTIST is … not exactly from Greece but also … so near, no ? ;-)

JOYA WINNER 2016
LIANA PATTIHIS
(Cyprus / United Kingdom, 1961)

LIANA PATTIHIS  - Brooch - Silver chain, enamel, stainless steel.  'Chained Interpretations' ... An ongoing study http://www.joyabarcelona.com/images/2017/Liana_Pattihis_-_JOYA_Award_low.jpgLIANA PATTIHIS – Brooch – Silver chain, enamel, stainless steel.  ‘Chained Interpretations’ … An ongoing study
« This latest collection is inspired by online sources and found images depicting flora and fauna specifically in wooded areas, which I find mysterious and intriguing. As with previous work from this series, images are chosen for their visual composition or specific geometrical aesthetic elements and are given a three dimensional ‘chained interpretation’, thus converting them into wearable pieces of jewellery.
Each enamel colour is fused and fired on the chain separately and the piece is constructed afterwards from the previously enamelled chain. Emphasis is given in the building-up and layering of the chains. This allows the piece to evolve, with the various types of chain and colours mixing and intertwining, poetically responding to the images as if they were ‘still lifes’, translating them into an impressionistic pixelated relief of textured three-dimensional layers. »

 

JOYA Barcelona Art Jewellery Fair
5-7 October 2017
Arts Santa Monica, Rambla 7
Barcelona – Spain

15/09/2017

EXCHANGE-BIJOU 2 – Reka Lőrincz – « Supercalifragilisticexpialidocious » at Putti Art Gallery, sept. 2017

Reka Lőrincz

5 new pieces on show at Putti Art Gallery  during September 2017 (08-27 Sep 2017) :  Supercalifragilisticexpialidocious. Jewellery is not only jewellery

(next exhibition : 2018: Fair  07 Mar 2018 – 13 Mar 2018  Schmuck 2018.)

« On the border of kitsch and consume Réka Lörincz from Budapest and Gisbert Stach from Munich show a colourful kaleidoscope of works defining field of jewellery in a new creative way »
«  There are many misunderstandings in the common meaning of jewellery and in the thinking of what jewellery should be.
On the border of kitsch and consume Réka Lörincz from Budapestand Gisbert Stach from Munich show a colourful kaleidoscope of jewellery, objects, installations and films where they try to define and enlighten the field of jewellery in a new humoristic, critical and philosophical way.
Both are doing as well collaborations in making jewellery pieces.

 
Réka Lörincz’s jewellery is playing with the colourful world of plastics and toys that she is deforming by absurd and surrealistic elements into amazing jewellery pieces. Their objects are pretending to have a function. But by combining abstract materials the visitor is surprised by the humour and colourfulness of the installation. Reka Lorincz has studied in Hungarian University of Craft and Design, has shown her works in various group and personal exhibitions around the world. » (Klimt02)

 

COCO ! sort de ce corps !!!!

 Réka Lörincz Brooch: Don't take care!, 2017 Pearl, silk, gold-plated brass, wood, acrylic paintRéka Lörincz Brooch: Don’t take care!, 2017 Pearl, silk, gold-plated brass, wood, acrylic paint

Réka Lörincz Necklace: Don't take care!, 2017 Pearl, silk, gold-plated brass, wood, acrylic paintRéka Lörincz Necklace: Don’t take care!, 2017 Pearl, silk, gold-plated brass, wood, acrylic paint Réka Lörincz Brooch: Monday to Sunday, 2017 Pearl, champagne quartz, mystic topaz, sapphire, ruby,  rhodium - plated brass, plastic, stainless steel, mountain crystal, citrineRéka Lörincz Brooch: Monday to Sunday, 2017 Pearl, champagne quartz, mystic topaz, sapphire, ruby,  rhodium – plated brass, plastic, stainless steel, mountain crystal, citrine

Exhibition display.  -   Réka Lörincz Brooch: Monday to Sunday, 2017 Pearl, champagne quartz, mystic topaz, sapphire, ruby,  rhodium - plated brass, plastic, stainless steel, mountain crystal, citrineExhibition display.  -   Réka Lörincz Brooch: « Monday to Sunday »

Réka Lörincz Object: Pearl grinder, 2015 Pearl, alloy, wood, metal foilRéka Lörincz Object: Pearl grinder, 2015 Pearl, alloy, wood, metal foil

Réka Lörincz Object: Must Have, 2017 Pearl, shovel, epoxy, textile  Réka Lörincz Object: Must Have, 2017 Pearl, shovel, epoxy, textile 

Réka Lörincz Necklace: Pearl truck, 2015 Pearl, goldplated brass, alloy, plastic, epoxyRéka Lörincz Necklace: Pearl truck, 2015 Pearl, goldplated brass, alloy, plastic, epoxy

Réka Lörincz Brooch: Perfect woman, 2015 Gold plated cooper, pearl, plastic 7.5 x 10 x 1.5 cmRéka Lörincz Brooch: Perfect woman, 2015 Gold plated cooper, pearl, plastic 7.5 x 10 x 1.5 cm

 Réka Lörincz Brooch: Pearl can, 2015 Gold plated cooper, pearl, stainless steel ø 6 cmRéka Lörincz Brooch: Pearl can, 2015 Gold plated cooper, pearl, stainless steel ø 6 cm

 Reka lorincz - Hommage à Coco Channel -  necklace - pearl, duct tape 2015:Reka Lorincz - Hommage à Coco Channel -  necklace – pearl, duct tape 2015

 

 

 

Education:
2012
Workshop with Gemma Draper – Antwerpem
2011 Symposium in Bratislava – Atelier EM
2010 Semmelweis University – Department of applied Psychology
2007 Workshop with Ted Noten – BIAD – Birmingham
2004 Diploma
2002 Erasmus scolarship to Spain, Barcelona
2000 Hungarian University of Craft and Design – Visual educator teacher department
1999- 2004 Hungarian University of Craft and Design – Metal design department
1997-1999 Budai Art technical college – goldsmith department

 

 

 

Putti Art Gallery
16 Mārstaļu iela
1050 -  Rïga
LATVIA

05/08/2017

EXPO ‘Marzee Graduate Show 2017′ – Marzee Gallery, Nijmegen (NL) – 20 Aout-25 Oct. 2017

Marzee International Graduate Show 2017

Please join us, and the participating graduates, for the opening of the Marzee International Graduation Show on Sunday 20 August 2017 at 4pm at Galerie Marzee.

Marzee Graduation Show - opening 20 August 2017 at 4 pm

The annual Marzee International Graduation Show, is the highlight of our exhibition calendar, and has grown from a modest affair to an event unparallelled in size and scope. This year’s show will present a selection of jewellery and objects by more than 100 graduates from 40 different art schools and academies from Europe, US, Asia and Australia.
Galerie Marzee is unique in its support for emerging young talent and since 1986 the Marzee International Graduate Show has offered the best new graduates their first opportunity to exhibit in a world-renowned gallery. During the opening we will also award the Marzee Graduate Prize to this year’s most promising students.
Bringing together student works from all over the globe, Galerie Marzee’s graduate exhibition is the only of its kind. It serves as an annual survey of thesis research in the field of jewellery, but more importantly, as a venue for these investigations, questions, and queries to come to light. Indeed, with contributions from over 40 academies and colleges across the world, design and process are as varied as there are selected works. As these students transition from the structure provided by university jewellery departments into a studio practice of their own making, the opportunity for their first body of work to continue into the contemporary conversation is significant. Perfectly housed within the gallery, the Marzee International Graduate Show 2017 marks the 31st installment, and the only jewellery degree exhibition of this size and scope.
The exhibition will be on show through October 25th.

 ***    


  Lotta Koov, Earthly Pleasures, 2017, brooches; silicone, silver, steel. Graduated from EKA Eesti Kunstiakadeemia, Tallinn, EstoniaLotta Koov, Earthly Pleasures, 2017, brooches; silicone, silver, steel. Graduated from EKA Eesti Kunstiakadeemia, Tallinn, Estonia
 Graduate Show preview: Ammeli Engström, Not my hands, 2017, brooch; silver. Graduated from HDK Academy of Design and Crafts, Gothenburg, Sweden
  Ammeli Engström, Not my hands, 2017, brooch; silver. Graduated from HDK – School of Design and Crafts, Gothenburg, Sweden

    Melissa Selvius, Ankh II, 2017, necklace; aluminium, gold. Graduated from SDSU San Diego State University, United StatesMelissa Selvius, Ankh II, 2017, necklace; aluminium, gold. Graduated from SDSU San Diego State University, United States

 Marzee International Graduate Show 2017 -  Lu Kuai, Peep-Communication, 2017, necklace; lacquer, horse hair, wood, silver, copper. Graduated from BIFT Beijing Institute of Fashion Technology, Beijing, ChinaLu Kuai , Peep-Communication, 2017, necklace; lacquer, horse hair, wood, silver, copper. Graduated from BIFT Beijing Institute of Fashion Technology, Beijing, China

MARZEE Graduate Show (2017) preview: Tamae Kamishima, Gather, 2017, brooches; acrylic paint. Graduated from Hiko Mizuno, Tokyo, Japan Tamae Kamishima, Gather, 2017, brooches; acrylic paint. Graduated from Hiko Mizuno, Tokyo, Japan
Lilian Mattuschka, untitled, 2016, necklace; wood, rubber, iron. Graduated from Alchimia, Florence, ItalyLilian Mattuschka, untitled, 2016, necklace; wood, rubber, iron. Graduated from Alchimia, Florence, Italy

 Holly O'Hanlon, Excess 2, 2016/2017, brooch; slate, treated mild steel, precious white metal, precious yellow metal, two-part epoxy, steel pin. Graduated from Central Saint Martins, London, UK. #graduateshow2017 #galeriemarzee Holly O’Hanlon, Excess 2, 2016/2017, brooch; slate, treated mild steel, precious white metal, precious yellow metal, two-part epoxy, steel pin. Graduated from Central Saint Martins, London, UK

Graduate Show preview: Dabin Lee, Down the Rabbit Hole, 2017, brooch; silver, copper wire, fabric. Graduated from Royal Academy of Antwerp, Belgium Dabin Lee, Down the Rabbit Hole, 2017, brooch; silver, copper wire, fabric. Graduated from Royal Academy of Antwerp, Belgium

Natalie Nicholson, Yellow, 2016, necklace; linen, sterling silver, rubber, wood. Graduated from SUNY, New Paltz, USNatalie Nicholson, Yellow, 2016, necklace; linen, sterling silver, rubber, wood. Graduated from SUNY, New Paltz, US

Marzee graduate show 2017 - Pia Groh, N'1, 2017, earrings agate, oxidised silver. Graduated from Idar-Oberstein, Hochschule Trier, GermanyPia Groh, N’1, 2017, earrings agate, oxidised silver. Graduated from Idar-Oberstein, Hochschule Trier, Germany

Marzee Graduation Show - opening 20 August 2017 at 4 pm

Lage Markt 3 / Waalkade 4
6511 VK Nijmegen, Netherlands
tel +31 24 322 9670

 

 

10/07/2017

EXCHANGE-BIJOU 1 – Yiota VOGLI – all that matters…. painting & jewellery by Yiota Vogli – As gallery (Greece) – 6 Juill.-12 Aout 2017

Yiota Vogli

All that matters ………. at As gallery - Agapi Smpokou Contemporary Jewellery and Art

opening on Thursday 6/7/2017 at 20.00

AS GALLERY- Agapi Smpokou contemporary jewellery and art is presenting the solo painting and jewellery exhibition of the artists Yiota Vogli, entitled « all that matters ». The exhibition’s opening is on July 6, 2017 at 20:00 at AS Gallery, Psaromiligkon 9 in the center of Heraklion.

all that matters…. painting & jewellery by Yiota Vogli
« I have drawn photographic portraits that capture an expression on human bodies, which seem to represent not just the subject’s personality but include manifestoes of our contemporary society.
This body of work is an exploration into the physical and emotional limits of individuals operating in contemporary society, using the human images, to expose psychological and physical states like joy, despair, guilty, emotional release, gravity, presence and absence. The question concerning female faith and generally the virtuous behavior which supposedly characterizes women in every area of their lives emerges as a central subject.
The female body becomes means and subject of emotional communication, when at the same time it turns into a canvas on which expresses the individual and public freedom, while reflects the aesthetic value of our times. »
Yiota Vogli

Yiota Vogli Visual Arts - All that Matters - solo exhib. juillet 2017

***

Yiota Vogli Visual ArtsYiota Vogli Visual Arts - paintings »body graffiti »

Yiota Vogli Visual Arts  - body imprints, mixed media, weavings, enclosed in plexiglassYiota Vogli Visual Arts · body imprints, mixed media, weavings, enclosed in plexiglass

Series "shadows" necklace Silver, alpaca, wood, painting "Thoughts like birds will always hover high in the sky but is our responsibility to prevent the “birds” from landing on our minds" Yiota VogliYiota Vogli - Series « shadows » necklace – Silver, alpaca, wood, painting
« Thoughts like birds will always hover high in the sky but is our responsibility to prevent the “birds” from landing on our minds »

Yiota Vogli - Series "shadows" necklace - detailYiota Vogli – Series « shadows » necklace – detail

Yiota Vogli - Series "shadows" necklace -Yiota Vogli - Series « shadows » necklace –
SHADOWS collection, 2016, is the embodiment of a fantasy world populated with shadows, exotic birds, grotesque demons and fairies, an exploration of the aesthetic and literary values of such creatures and the real and symbolic nature of the shadow as an image and a figure.. »Yiota Vogli

EXCHANGE-BIJOU 1 – Yiota VOGLI - all that matters.... painting & jewellery by Yiota Vogli - As gallery (Greece) - 6 Juill.-12 Aout 2017 dans EXCHANGE-BIJOUYiota Vogli - From the series « Shadows » the pair -earrings, silver, alpaca, paper, oxidation, Yiota Vogli

Yiota Vogli Visual Arts - All that Matters - solo exhib. juillet 2017Yiota Vogli - « Body Graffiti »- mixed media, 140x90cm
« The emblematic photographs of the surrealist Man Ray (1890-1976) are the artist’s raw material, the basic building blocks of these works. Thereafter the artist intervenes either by the use of the digital ‘touching up’ of the photographs or through means solely afforded by painting, such as the addition of colour or the subtly nuanced repetition of the same subject, thus emphatically underlining invented symbolic features of the image. The cumulative function of memory and associations leads to the inclusion of other apparently disparate elements such as street graffiti, Byzantine images and Renaissance art or even fragments from ancient texts. The resultant new work has thus the form of a palimpsest, not just in terms of its images but also in the representation of feelings. »  Despina Tsougianni  PhD. History of Art

Yiota Vogli - "Body Graffiti"- mixed mediaYiota Vogli - « Body Graffiti »- mixed media

Yiota Vogli - layers of memoryYiota Vogli - layers of memory

 

 

AS Gallery
Psaromiligkon 9,
71202 Herákleion (Heraklion , Crete), Greece
tel +30 281 400 3486
www.as-gallery.gr

 

12345...33